Eurythmy Performance

GA 277d/1923-06-09/p005 ·1923-06-09 · English MediumMedium alignmentSome paragraph re-numbering between this translation and the German original — the locus may slip by a paragraph or two.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

Goethe speaks of sensual-supersensual perception for that which is to be captured artistically. If one now endeavors to capture the entire linguistic and vocal organization of the human being artistically, one arrives at something that actually lies behind language and behind singing, something that has to do with the whole human being, whereas language and singing have to do only with individual organ groups. But who could fail to feel that when a person reveals themselves through speech or song, their entire soul is involved, and that this soul is involved in such a way that one actually feels the soul's weaving and working through the entire organism. Therefore, one can also say that, especially when language is not merely used to communicate something conventional or purely logical thoughts, but when language is artistically crafted, then the whole human being actually wants to express itself, and this expression, this revelation of the whole human being, is only concentrated on a limited group of organs.

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Cite: GA 277d/1923-06-09/p005 · edition English